Superbooth 2026: Oddment Audio ODD-1 is a new desktop hardware granular Synthesizer with a hands-on user interface and CV connectivity: almost ready to ship.
The ODD-1 granular Synthesizer has been in development for over two years. Oddment Audio is also showcasing the ODD-1 at Superbooth (W206) this year.
It is a granular Synthesizer with up to 8-voice polyphony, shared across 2 multitimbral layers, and eight simultaneous stereo samples up to 60s at 48kHz. You have four independent playheads per layer with flexible assignment to the four samples.
You can use the synth as a multi-timbral synth, expressive sampler, multi-track looper, or even a real-time effect processor.
Features:
Desktop lab for sound synthesis featuring a one-of-a-kind, limitless patching system.
Custom microsonic (aka granular) processing designed for the powerful quad-core ARM A72 CPUs achieves thousands of small pieces of sound (grains) per second with high-quality over-sampling.
Create movement and depth with per-grain spatial audio rendering and ear-inspired filtering
18 infinite encoders with integrated switches and LEDs enable a knob-per-function feel in a travel-friendly size, with as much depth as any granular synthesizer on the market.
Thoughtfully-designed interactions on the 2.8” capacitive touch screen enable depth without menu diving.
8 simultaneous stereo samples up to 60s at 48kHz.
8-voice polyphony shared across 2 multi-timbral layers.
2 layers can independently behave as a multi-timbral synth, expressive sampler, multi-track looper or real-time effect processor
4 independent playheads per layer with flexible assignment to the 4 samples.
Stretch a sound to infinity without losing its natural articulation using our one-of-a-kind, variable-speed Time Path.
Patch without limits – Connect 4 LFOs, 3 Envelopes, 4 Macros, 4 Control signals, and any MIDI control to any parameter on the device just by holding it down.
MPE capable for expressive control.
4 control signal inputs for connecting modular gear, expression and sustain pedals.
Hundreds of amazing factory patches
2GB library of custom samples, created exclusively for the ODD-1 by musicians like Joshua Van Tassel and Lee Clarke.
4GB of user storage for samples and patches.
Capture new stereo samples from analog input, microphone input or USB audio input.
Connect as a USB drive to transfer samples, patches and painless firmware upgrades.
Dual stereo filters per-voice with classic resonant filter designs. Can be set in series or parallel.
Saturation per-voice and per-layer with distortion, bit crush, and compression.
Two echo units per-layer include distortion and filtering in the feedback loop to achieve anywhere from crisp digital delay to warm feedback.
Design and achieve your own effects sounds by modulating the core synthesis, filtering, delay elements. Chorus, phasor, flanger, tremolo, tape emulation, and on from there.
Custom sample analysis enables unique pitch and timing control modes.
Capture the audio of a performance or experimentation session directly on device.
Powder-coated aluminum enclosure is as durable as it is beautiful.
Companion ODD-1V plug-in with identical sound processing and factory library, for those times when you’ve accidentally left home without your ODD-1.
The good news is that development is in its final stages. It’s great to see that the ODD-1 is now almost finished.
According to the developers, the ODD-1 will ship in August 2026 and is still available for pre-order for $999.
Puremagnetik has introduced Etches, a new hardware instrument designed for soundscape creation and performance-based sound design.
It combines a monophonic synthesis engine with a built-in recording and layering system, allowing users to build evolving textures from real-time input and overdubbed audio.
The sound engine is centered on a monophonic voice generator paired with a splice-based recorder. Incoming audio can be captured into short loops, which can then be layered and modulated over time. An internal LFO influences splice behavior by altering playback start and end points, introducing variation in repeated material.
Control is designed around direct performance interaction rather than traditional synthesis parameters such as envelopes or filters. Four touch pads provide primary control over articulation, contour, and timbral movement, while a touch keyboard provides note input. Musical scales and modes can be selected so that performance remains constrained to a defined key.
A built-in effects section provides spatial processing, including delay and reverb, integrated into the instrument’s output stage. The system is intended to operate as a self-contained performance tool for generating and manipulating evolving sound material.
Features:
Sound engine
Monophonic voice generator
Complex oscillator design with continuous timbral control
Built-in splice recorder with overdub capability
Layered audio playback system for evolving textures
Recording and sequencing
80-second internal recording buffer
Multi-splice looping system for layered sound construction
Overdub functionality for building composite textures
Internal modulation of splice start and end positions via LFO
Performance controls
Four touch-sensitive articulation pads for timbre and contour shaping
Touch keyboard interface for note input
Scale and mode selection with key locking
Real-time performance-based sound shaping without traditional envelope/filter structure
Effects and output
Stereo signal output
Integrated tape-style delay
Built-in stereo reverb/space processing
Musical overdrive stage with soft clipping behavior
Hardware and connectivity
Runs on standard 9V DC power supply (center-negative)
Stereo output via 3.5mm jack
External audio connection requires appropriate adapter or splitter cable depending on setup
Compact, exposed PCB-based hardware design
Etches is available now for pre-order, priced at $350 USD with shipping of the first batch expected to start in early June, 2026.
Chase Bliss has introduced Big Time, a hybrid delay pedal that combines digital delay processing with analog circuitry at key points in the signal path.
The design is based on early 1980s rack-style delay systems that combined analog and digital components. The signal chain includes a stereo analog preamp at the input stage and a stereo analog limiter placed in the feedback loop of the delay. The digital section provides delay generation, modulation, looping, and sequencing functions, while the analog stages provide gain shaping and dynamic control within the overall signal path.
The pedal is designed for stereo operation and supports multiple control methods, including expression, MIDI, and CV. It includes internal preset storage and supports additional presets via MIDI. The interface provides a set of controls for shaping delay behavior, modulation, filtering, and feedback characteristics.
Features:
Signal path and architecture
Hybrid digital delay with analog input and feedback stages
Stereo analog preamp at input stage
Stereo analog limiter in feedback path
True stereo signal processing throughout
Analog dry-through design
Delay and sound shaping functions
Digital delay engine with modulation and sequencing capabilities
Variable delay modes including standard delay and looping behavior
Feedback shaping with controllable limiter behavior
Diffusion and multi-tap style echo expansion
Tempo-synced and musical interval-based delay time options
Controls and modulation
Dedicated controls for preamp gain and saturation
Feedback and limiter behavior shaping controls
Modulation controls including LFO-based movement
Parameter control via expression pedal, CV, and MIDI
Tap tempo support
Connectivity and performance
Stereo audio input and output
MIDI input with clock, program change, and CC support
CV and expression inputs
External footswitch support
Preset storage (internal and MIDI recall support)
Specifications
32-bit processing at 48 kHz
True stereo I/O
Analog dry signal path
9V DC power input
Big Time is available now for preorder, priced at $999 USD. Shipping is expected to begin around June 2026.
